Coming from the art school HFG Offenbach where she gradueated as a designer in a visual comunication and being a professional photographer for several years, Marina knows exactly what she is doing and why she is doing so. In her works she is offering a look through the surface of thesheer medium by moving the model’s persona to the centre of the suet. By doing so her photographs tend to idealize the givenmultitude of an individual instead of creating a romanticizednarrative of normalized motifs or identities. She does so with the certainty that there is no pure objectivity in (her) photography. Instead the recipient can witness a profoundartistic practice that is based on her expression through themedium. That is probably why she said: ‚If it were not for human existence, I would’t be taking photos.‘

Thus she is tackling the enigma of human existence: not through showing how it supposedly is, this would not suit her integrity, but by offering her artistic perspective on the unsettledidentity of individuals that are mostly scouted on occasion.

For the most part she does not manipulate her photographsdigitally but instead uses the natural scope of the medium tocounteract the expected objectivity. One might call this a double-sided or even reciprocal realism, for she is using an inherently realistic medium, connected withstriving objectivity and it’s shortcomings, to depict a narrative realism in her works, that is in its own right connected tosubjectivity and it’s fallacies. These dichotomies then might cease to exist. As for Marina, likeKim Hyesoon wrote, ‚Mother does not exist, like the water that'sgiven birth to a flower and then disappeared.‘